Sakshi Patil | 1st August 2025
Marathi theatre has always had a heartbeat of its own — raw, emotional, rooted in our culture, and full of stories that reflect who we are. It’s not just a form of entertainment; it’s a mirror to society, a classroom for values, and for many, a spiritual experience. Growing up surrounded by stories of iconic Marathi plays and legendary performances, I always believed in the magic of this art form. But during my postgraduate research in Communication and Journalism, I discovered something no one really talks about: how does this magic actually reach the audience?
And that’s when I decided — I didn’t want to write just another academic paper. I wanted to understand the machinery behind the curtain. I wanted my research to mean something — not just for me, but for the people who live and breathe theatre, and for the audiences who cherish it.
So I started asking questions. How do theatre groups promote their shows? Is it just about putting up posters? Are they using Instagram like everyone else? Who handles their publicity? The answers came from professionals and amateurs alike — some trained PR people, and some actors or producers who also double up as their own marketing team. Because in Marathi theatre, someone has to do it.
The Evolution of Theatre PR: A Blend of Old and New
To my surprise, almost every theatre group now uses social media — from WhatsApp forwards to Instagram reels. Facebook still finds a place too. This shift towards digital is heartening, showing that theatre is evolving with the times. But here’s the twist: despite the digital presence, the printed poster still reigns supreme.
Yes, even in 2025, good old posters are the go-to promotional tool. Why? Because they work. They’re trusted, especially by older or rural audiences who may not be scrolling through Instagram. Familiarity builds trust, and in theatre, trust draws audiences.
But there’s another, more sobering discovery: out of 25 people I surveyed, only 3 had a dedicated PR person. The rest were multitasking — writing press releases, designing creatives, handling social media, and running rehearsals. This was perhaps the most eye-opening part of my research. Behind every successful play is not just a playwright or director, but also an invisible force of jugaad — creative improvisation that keeps the show running, on and off stage.
The Struggles Are Real — and Relatable
Theatre groups face significant challenges in this new age of promotion. Many struggle to keep up with trends. Most lack the skills or tools to create engaging content. And very few receive any structured feedback from the audience. Their approach is often “post and hope” — a far cry from the analytics-driven strategies in corporate PR. Then there’s the question of money. Hiring a PR professional or running digital ads is a luxury many small groups simply cannot afford.
But despite these hurdles, they’re trying. They’re adapting. They’re learning how to build an audience one post, one poster, one word-of-mouth recommendation at a time.
More Than Just Research — A Life Lesson
What began as a thesis project turned into something far more meaningful. I met people who are pouring every ounce of energy they have into keeping Marathi theatre alive — not just on stage, but off stage too. And it taught me something profound: Public Relations in theatre is not about viral trends or influencer tie-ups. It’s about storytelling. It’s about connecting hearts to the stage. It’s about belief — belief in the script, in the message, and in the power of the audience.
If you love theatre, or if you work in media, here’s my message: don’t underestimate the power of PR in preserving regional art forms. Marathi theatre has the content — bold, powerful, relevant content. What it needs now is better communication. Imagine if every great play had an equally powerful PR campaign behind it. How many more people would watch? How many more sponsors would care? How many unheard stories would finally be told?
As I close this chapter of my academic journey, I’m taking away more than marks or a certificate. I’m walking away with deep respect — for the resilience of theatre professionals, and for the invisible but vital role of communication in making sure their voices are heard.
Because the spotlight isn’t just meant for the actors. Sometimes, it’s the story behind the spotlight that needs to be told.
— Sakshi Patil is a postgraduate student in Communication and Journalism, and a lifelong admirer of Marathi theatre.
